Futureworld: When Sequels Are Unnecessary

At the end of Michael Crichton's Westworld (1973), the androids at Delos, a high-tech amusement park, went amok and killed dozens of guests. Futureword (1976) picks up two years later. One would have thought that the deaths and injuries to almost 150 customers and staff would have bankrupted the company. But instead, it plans to re-open and convince the public that--after $1.5 billion in safety improvements--Delos is "fail-safe."

Peter Fonda as Chuck.

As part of its public relations strategy, the company has invited influential world leaders and news journalists to experience the new amusement park and participate in behind-the-scenes tours. The guest list includes newspaper reporter Chuck Browning (Peter Fonda) and TV host Tracy Ballard (Blythe Danner). Browning suspects that something is amiss at Delos--especially after a former employee tried to contact him and was subsequently murdered. But what could Delos be hiding?

Given the boxoffice success of the modestly-budgeted Westworld, it was not surprising that a sequel was made. However, by 1975, Michael Crichton and MGM, the original studio, had moved on to other projects and were uninterested in revisiting Delos. Producer Paul Lazaurus III eventually secured financing and a distribution deal through American International Pictures (AIP). Known as a "B" movie studio, AIP wanted to move into the "mainstream" with bigger-budgeted movies and Futureworld fit that profile.

Blythe Danner as "Socks."

Unfortunately, Futureworld lacks the creativity and energy that made Westworld a hit with critics and moviegoers. As the intrepid reporters, Fonda seems to be going through the motions with Danner overcompen-sating by playing her character too broadly. Neither one is remotely convincing.  Also, while it's the script's fault, I grew quickly tired of Fonda calling Danner by the "cute" nickname Socks. As a blue collar Delos technician, Stuart Margolin provides some much needed personality. However, he doesn't appear until an hour into the film's running time and Futureworld has already grown tedious by then.

Perhaps, Futureworld could have been saved with a clever story. I won't provide any plot spoilers here, but will state that it recycles a creaky, overly familiar science fiction premise. By the time the credits roll, you'll likely be thinking: Is that all there is to it? And don't expect a big scene from Yul Brynner, who reprises his Westworld role as The Gunslinger. He appears only in a silly dream fantasy.

Futureworld did turn a small profit, but not enough to warrant additional sequels. However, in 1980, a TV series called Beyond Westworld debuted on CBS. Only three of its five episodes were aired before it was cancelled. The original concept was revived quite successfully, though, when HBO launched its Westworld TV series in 2016.

Cult Movie Theatre: Race With the Devil

I miss drive-in movies. Sure, you can still watch a movie at a drive-in, but no one shows drive-in movies anymore. I'm referring to the teen musicals, biker flicks, chase pictures, and fright fests that dominated the outdoor theatres of the late 1950s through the 1970s. These low-budget exploitation films are largely forgotten today, but some have acquired small loyal followings over the years. One such example is Race With the Devil (1975), which combines the thrills of a road race drama with the creepiness of Rosemary's Baby.

Peter Fonda and Warren Oates star as Roger and Frank, two hardworking friends who decide to take a long-deserved vacation to Aspen, Colorado with their wives (Lara Parker and Loretta Swit). Their plan is to drive a new $36,000 RV across Texas to reach their destination.

Warren Oates in the driver's seat.

On their first night, they park their van in a secluded meadow far off the highway. As their wives huddle inside the RV, Roger and Frank share booze and conversation under the stars. Their peaceful interlude is interrupted when they see what appears to be an orgy in the woods. As they move closer to investigate, they're stunned to witness a young woman being sacrificed. At the same time, Roger's wife Alice (Swit) calls out to her husband...and the noise attracts the attention of the Satanic cult. A chase ensues in which the two couples barely escape with their lives--but that's just the beginning of their problems.

Race With the Devil is probably best-remembered for its two action set pieces: the race through the woods at night and the high-speed pursuit climax. Indeed, the former scene is a tense nail-biter that reminded me of a similar night attack in the made-for-TV classic Gargoyles.

Loretta Swit and Lara Parker.

However, on the whole, Race With the Devil works best as a paranoid thriller. Lara Parker (Dark Shadows TV series) gives a nicely nuanced performance as Fonda's wife Kelly. Although her initial fear subsides, Kelly gradually begins to suspect that everyone she meets may be a member of the cult. Even in the apparent safety of a large commercial RV park, she sees people "watching" her. Is Kelly starting to lose her grip on reality or she the only one who realizes how much trouble they're really in?

Peter Fonda takes aim.

Race With the Devil was the second of three films that Fonda and Oates made together. It was sandwiched between The Hired Hand (1971) and 92 in the Shade (1975). The actors' careers, though, were going in different directions. With his appearances in Sam Peckinpah films and critical acclaim for Two-Lane Blacktop (1971), Oates was near his career peak. In contrast, Fonda was stuck in 1970s drive-in fodder like Fighting Mad, Futureworld, and High-Ballin'. Of course, to his credit, he also made one of the best chase movies with Dirty Mary, Crazy Larry and the comedy Outlaw Blues (with Susan Saint James) is a lot of fun.

Race With the Devil isn't an undiscovered gem, but it's a well-made, exciting drive-in movie. It's the kind of picture that will have you shouting advice at the TV screen. I mean, I kept telling them to drive about 400 miles before reporting what they saw in the woods. But no...they stop at the little nearby town the next day and R.G. Armstrong appears as one of those condescending sheriffs that you just can't trust. No one listens to me in these movies....